延續過去作者臺灣歌謠的研究，本文著力於流行歌的主要展演空間臺北三市街的大稻埕，探討其中城市史的文化活動與理論對話意義。通過「福科問題」，以異托邦六點原則進行大稻埕城市文化史的理論與實踐研究。理論層次上，將福科與諸理論對話後提出一個新的補充原則創見：把異托邦神秘的空間能動，回歸到人的能動性，由具有辯證印象與刺點能力的閒逛者帶領進入空間探究。方法上通過行走的視覺經驗和主體之刺點感受，又有著運用歷史文獻、地理資訊系統和田野訪談等知面的理性導引，本文發現大稻埕異托邦街衢空間內有諸多相互關連的刺點：社會空間結構（如霞海城隍廟、陳天來洋樓）；臺灣歌謠文化（如永樂座、圓環）和全球經濟茶葉文化（新芳春行）等，印證異托邦的「反位址」「並置位址」與「夢址」與交織性的空間存在。大稻埕作為戰前「本島人市街」、戰後「臺北老區」，這「夢址」是被國家權力控制篩選過濾後的地域秩序，所刻意劃分的差異空間，是資本流動以追逐較高利潤所拋擲的場域，是隨時可能遊行，聚會與暴動的需要被監視提防的地域。流動如歌的閒逛者在其中自覺觀看與詮釋，於城市文化史裡尋求深具主體認同的「自身空間」，時時等待重新造訪，溫習與創造想像。

To consider“Dwaduedia” as our research object as mainly performing area for Taiwanese ballad, this paper focused on the urban culture complexities in the Taipei three cities region’s process becoming a“heterhotopias” via the realization of the Foucault Question. After debating with other theorists, I add one supplementary principle into the original six principles developed by Foucault. That is, we discover “heterotopias” are places strolling and seeing, by flâneur in where inspired our space imagination to recognize the importance of counter sites, juxtaposing sites and dream sites and their relations to the Dwaduedia urban spaces. Dream sites are places being intentionally divided or excluded by the state’s power, flâneur is the only actor who can find the correspondences of heterotopias in those spaces. Other findings are that as “the islander”s street’and “the old quarter in Taipei”, Dwaduedia is not only a culture historical site full of punctum, such as the site for performing Taiwanese ballad, but also contains different dynamics of spaces for developing the “selfspace” consciousness for Taiwanese identification.